The Fabulist
Set in a Tuscany movie studio in 1929, a wandering magician (sorry, Fabulist) Agrofontido is smitten with the eccentric screenwriter Clarice and seeks her hand. Unfortunately, the characters find that romance can get complicated in a hurry, and the audience are undeniably made to feel the same.
With a book that is both comical and confusing, James Farwell has crafted a masterful script that is let down only by its lacklustre pace and accompanying lyrics. He has the small but mighty cast to thank for carrying it brilliantly, and doing the most they can with the material provided.
A standout performance was given by Lily De La Haye whose dramatics and diction were faultless, and who performing arts students across the globe should reference when learning that 'acting is reacting', as her expressive facial features and body language shone from start to finish. Her vocal ability was also a highlight, although all of the actors must be credited in this respect as there was such a range, it was impossible not to admire each and every one.
Advertised as ‘a new musical with an operatic edge’, it was unclear what to expect of the songs and score. Conclusively, it seems that Giovanni Paisello’s original composition is beautiful just as it is; adding a new storyline and trying to fit in with the scene of modern historical retellings just isn’t as effective as one might hope. Perhaps a one act play with his notes to underscore the scenes may have been more enjoyable, or at least feel less lethargic at times.
Director John Walton worked wonders with the space and created a great sense of the fictional world, with David Shields’ set and costume design aiding this further. He did, however, seem to forget how far anyone sitting in the front half of the auditorium can see into the wings. Unfortunately, the performers regularly broke character as soon as they had passed the threshold which detracted from this sense of being totally immersed in their universe.
Speaking of breaking illusions, Harry De Cruz has provided some rather underwhelming magic consultancy. Considering that the show centres around the spectacles, they are never what you might call ‘amazing’, or possess that ‘wow factor’. The upside to this is that the marvels never appear over the top or tacky, they remain classy and true to the style of the show - swings and roundabouts!
The technical highlight of the entire production was undoubtedly Fridthjofur Thorsteinsson’s lighting design. It fit perfectly with every inch of scenery, and was programmed flawlessly. It truly lifted the whole show and this was reflected in the blocking decisions. Unfortunately, other departments were not as successful - with sloppy prop management and the majority of the first act spent with a large piece blocking the fire exit, meaning even the actors bumped into it on their entrances and exits. The transitions were not particularly smooth either, relying on the amateur tool of blackouts between sections rather than executing them more creatively, or utilising the cast that were already on stage.
There is no choreographer credited in the programme which may seem strange until you realise that the vocal demands of the show mean movement must be minimal. This was in fact addressed very early on in the show, and you have to appreciate how seamlessly and cleverly this was done - it was as if the fourth wall had been broken without anyone even realising!
All in all, The Fabulist is a respectful attempt at an indisputably underrepresented genre of musical which has potential to be so much more.
This show was reviewed on the 29th August 2024 at Charing Cross Theatre, London where it runs until the 21st September 2024. Tickets available here: Charing Cross Theatre
Review written by Katie-Anna McConnell
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Photo credit: Mark Senior
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